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In this book historian Ana Lucia Araujo examines Biard's Brazil with special attention to what she calls his "tropical romanticism" a vision of the country with an emphasis on the exotic.
This monograph is the first in a series aimed at presenting through a new perspective the life and works of the pillars of Brazilian modernism, devoting this edition to the most quintessential of modern Brazilian painters: artist Di Cavalcanti (1897-1976) on the occasion of the 30th anniversary of his death. The book analyses the meaning and techniques of the dense poetic and frequent sensual atmosphere of his artwork and his unmistakable contribution to Brazilian art, presenting the artist's works grouped by themes and organized in chronological order, covering from the brilliant humor of his caricatures through his refined drawings, portraits, book illustrations, still-life and landscape canvas, and paintings of religious, folklore and Brazilian traditions. The book accompanied a correlate exhibition.
"The book provides a deeper understanding of modern art in the Brazilian context, moving the focus away from the self-declared avant-gardes and towards a broad panorama of modernizing tendencies throughout the period, 1890 to 1945. The backdrop of sertão, favelas, carnival and samba - often left out of accounts that restrict readings of modernism to erudite arenas like literature, fine art or architecture - are foregrounded in an attempt to situate artistic discourses within the social and political struggles of the period. Race, class and ideological conflict are given priority as tools for deconstructing complex debates, too often taken at face value or misread as merely reflexive of European phenomena. The anthropophagic movement (Antropofagia) rates special attention in teasing out the meanings of primitivism in the Brazilian context. The book examines a range of visual cultural materials including paintings, periodicals, graphics and photographs, revealing a hidden archive that calls into question the very essence of how modernism is usually perceived in Brazil. The enduring presence of archaism and violence behind an appearance of modernity reveals itself to be not an anomaly, but rather a product of the tensions inherent to the enduring oligarchical structures of Brazilian culture and society"--
For abstracts see: Caribbean Abstracts, no. 11, 1999-2000 (2001); p. 111.